Global or regional music styles Books

Book SynopsisK-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul, Crystal Anderson examines the most important and often overlooked aspect of K-pop: the music itself.

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Book SynopsisRasa is the most thorough treatment to date of this all-important concept at the heart of Javanese aesthetics. Rasa encompasses not only affect, mood, and intuition, but also theories of musical perception and cognition, as well as meaning and expression in music.Table of ContentsPreface Technical Notes Chapter 1: The Musical Scene in Solo Chapter 2: The Taste of Music: Rasaning Gendhing Chapter 3: The Classification of Rasa Gendhing Chapter 4: Having Rasa, Part 1: Linguistic and Cultural Perspectives Chapter 5: Having Rasa, Part 2: Musicianship Chapter 6: The Communication of Rasa, Part 1: General Considerations of Expression and Perception Chapter 7: The Communication of Rasa, Part 2: Garap and Other Factors Contributing to Specific Rasas Chapter 8: Why Rasa Talk Matters Appendix A: Classifications of Rasa Gendhing from Oral and Written Sources Appendix B: How Iråmå Works Glossary Bibliography Dictionaries and Glossaries Corpus: Works Having Citations of Rasa Terms as Used by Javanese Experts in Music and Related Arts General Works Discography of Recordings Referred to in the Text Index

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Book SynopsisTrade ReviewIn Mr. Ebrecht’s book we have the first exhaustively researched and documented account of a plan to build the world’s largest organ in the world’s most famous church. There is also a plethora of historic and relative information regarding organ builders, organists, venues, composers, and dignitaries in several countries during the mid-late 19th century. This book should be in every academic library, and anyone involved in teaching, studying, or simply learning about pipe organs will find it a fascinating as well as a significant read. -- Frederick Swann, University Organist and Artist Teacher of Organ, University of RedlandsRonald Ebrecht’s book about the Cavaillé Coll Organ Project in Rome is a must for every pipe organ enthusiast, organ player, organ builder, and everyone interested in this monumental building. The story behind the vision of one of the greatest organ builders of the world, who conducted an organ project for one of the greatest church buildings of the world, gives insight to a previously unknown dimension. -- Philipp C.A. Klais, organbuilder and president of Orgelbau Klais, Bonn GermanyThis is a very well-researched book about a spectacular and unfortunately not realized organ project. Illustrating the historical context, Ebrecht makes the reader understand the path to this terrific project and the reasons why it did not happen. An excellent reading that tells us a fascinating story of a genius organ builder and his time. -- Stefan Stürzer, Managing Director, Glatter-Götz OrgelbauTable of ContentsForeword Preface Introduction Chapter I - An Auspicious Début, a Difficult Era Chapter II - One Hundred Stops, Saint-Sulpice, Paris' Greatest Organ Chapter III - Willis' One Hundred Eleven Stops, and Cavaillé-Coll's Septet of Secular Organs Chapter IV - The Rome Project and Book Chapter V - The Scene: How Developments in France Impacted Italy, and the Organs in Rome Chapter VI - The Vedette: the Model, Its Evaluation and Exhibition Chapter VII - The Jubilee Chapter VIII - Others Build Ever Bigger; Cavaillé-Coll's Final Gloies and Impoverished Death Bibliography Index

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Book SynopsisMartin Roberts teaches courses on global digital media at Dartmouth College and Emerson College, USA. His research focuses on subcultural identities and practices in an age of globalization. His publications include essays on global documentary film, world music, and the J-pop genre Shibuya-kei.Trade ReviewA personal, yet professional, account of the intricacies of Fantasma. * Japan Times *Table of ContentsNote on Transliterations and Japanese Names Preface: White Rabbit 1 From Nakameguro to Everywhere 2 Magic Kingdom 3 Ape Shall Not Kill Ape 4 Mutations 5 Pet Sounds 6 Merrie Melodies 7 Three Dimensional Music 8 Analog Afterlives 9 Double Fantasy Notes References Index

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Book SynopsisLila Ellen Gray is a cultural anthropologist, ethnomusicologist, and interdisciplinary scholar of music and sound. She is currently Associate Professor of Music at Dickinson College, USA. Her book Fado Resounding: Affective Politics and Urban Life (2013), was the recipient of the 2014 Woody Guthrie Award of the International Association for the Study of Popular Music (IASPM-US).Table of ContentsAcknowledgments Notes on the Text Track List Preface: A Yearning for Liveness Part I: Setting the Stage 1. Dresses, Acrobats, and the Sound of Moonlight 2. Biographies of Her Voice 3. A Fado Primer 4. Listening to Amália Interlude I: Mid-century Representations: NATO: “Introducing Portugal” Part II: Listening to Amalia à l’Olympia Prelude: On Love and Longing 5. Presentation and “Uma Casa Portuguesa” 6. “Perseguição” 7. “Barco Negro” 8. Fados about Fado: “Tudo Isto É Fado” and “Que Deus me Perdoe” Interlude II: Mid-Century Representations: Simone de Beauvoir’s Les Mandarins 9. Diva Constellations Coda: “Fado Amália” Notes References Index

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Book SynopsisThe 2001 buddy film Dil Chahta Hai (dir. Farhan Akhtar), had arguably the first rock soundtrack in Bollywood. The award-winning soundtrack is an entry point into the relationship between Bollywood film songs, Hindi language music, and the Indi-pop movement of the ''80s and ''90s.Beaster-Jones draws from reviews by music critics and fans, industry interviews, and his own close analysis of the music and the film to trace the role of the Dil Chahta Hai soundtrack in transforming both the sound and production practices of Bollywood cinema in the new millennium. These songs emerged from the rock band and live performance aesthetic of writing trio Shankar-Ehsaan-Loy. Their collaborative compositional approach for this soundtracks and later soundtracks reveals the changing tastes of India's urban youth audiences and how that taste fueled the rise of the rockstar narrative in Hindi films.The music for this soundtrack was the s

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Book SynopsisThe didgeridoo, or yidaki, is one of the most ancient musical instruments on Earth. The Tzolkin Trilogy showcases the primal sound of the didgeridoo as it has never before been heard, in three original compositions, based on the Mayan calendar. This unique sound has been shaped and developed into a form that can act as a tool for healing and spiritual awakening. Using the Traditional Chinese Medicine principle that degeneration in the physical body is caused by imbalance and functional disharmony within the energy system, the sound vibrations work to connect with the human body's natural energy vibrations, in order to rebalance and restore their functional harmony and imbue the listener with a renewed sense of lightness and freedom. These soothing and pure sounds should be experienced by anyone interested in music as a therapeutic tool, and are especially effective for those suffering from emotional or mental stress, sleep problems and disorders of the nervous system, digestive organs or the heart.Table of ContentsVolume 1. The Nine Underworlds. Volume 2. The Thirteen Heavens. Volume 3. The One Source of Energy and Light.

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Book SynopsisAn exploration of what world music actually means and an introduction to global sounds.

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Book SynopsisLondon, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city's tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever. It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical categoryvoiceand engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surroundin

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Book SynopsisThis work examines the musical influences of a Malaysia's Portuguese community, whose roots lie in the conquest of Malacca in 1511 by the Portuguese seafarer Afonse D'Albuquerque.

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Book SynopsisThis work focuses on the development of a unique style of music - combining the electric guitar with indigenous Shona music - that emerged in Zimbabwe during the 1980s. Turino examines this emergence of cosmopolitan culture among the black middle classes, and how it influenced politics.

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Book SynopsisTrade Review"Clendinning has flipped the script. Rather than describing Balinese performers as if ‘they’ come to ‘us’, she shows how their far-flung pedagogical networks reshaped US-based music programs in higher education from the inside out. Her intimate portraits of three generations of Balinese teachers reveal them as the makers of transnational music communities. This book is both fascinating and moving. I am convinced all over again that these almost utopian third spaces are sorely needed."--Deborah Wong, University of California, Riverside"An ambitious work that can really spark scholarship that intersects ethnomusicology, performance studies, and the scholarship on teaching and learning. Clendinning discusses the positive aspects of world music ensembles, but is also open about the ethical issues involved in running a gamelan in an institution of higher education."--Eric Hung, Music of Asian America Research CenterTable of ContentsAcknowledgments 1 Interlocking Sounds, Interlocking Communities 2 Early Encounters in Bimusicality 3 From Bali to America: Teachers and Transitions 4 Creating and Conceptualizing a Balinese American Gamelan Community 5 Teaching, Learning, Representing 6 Americans Learning Gamelan in Bali 7 Kembali: To Return or Change 8 Bimusicality and Beyond 9 Sustainability and the Academic World Music Ensemble 10 Cultivating New Flowers Glossary Notes References Index

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Book SynopsisTrade Review"In A Respectable Spell, prominent Brazilian ethnomusicologist Carlos Sandroni contributes important perspectives by detailing the musical transformation of samba from the first recording in 1917 to its codification as a genre, circa 1930." --Journal of Folklore Research Reviews "At long last, we can celebrate the publication of this groundbreaking study in English. Carlos Sandroni's brilliant ‘historical ethnomusicology’ of samba laid the foundations for many subsequent studies, and continues to set a standard in the field. Sandroni is equally adept at fine-grained musical analysis, rich social-historical contextualization, and crisp, clear explanation. Michael Iyanaga's sensitive and graceful translation makes this accessible to a broad international audience for the first time. This book is fundamental for all those interested in samba's emergence and evolution."--Bryan McCann, author of Hard Times in the Marvelous City: From Dictatorship to Democracy in the Favelas of Rio de JaneiroTable of ContentsCoverTitle PageCopyrightContentsTranslator’s Foreword: The Decolonial Spark of a Translated SpellAcknowledgmentsIntroduction to the English TranslationOriginal IntroductionMusical PremisesPart One: From Lundu to SambaChapter 1. “Sweet Lundus, for Massa to Dream”Chapter 2. Maxixe and Its AntecedentsChapter 3. From Bahia to RioChapter 4. From the Dining Room to the Drawing RoomChapter 5. “Pelo telefone”Part Two: From One Samba to the OtherChapter 6. When Did Samba Become Samba?Chapter 7. Birds and CommoditiesChapter 8. From Malandro to ComposerChapter 9. A Respectable SpellChapter 10. On the GramophoneConclusionGlossaryNotesWorks CitedIndexBack cover

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Book SynopsisA Choice Outstanding Academic Title for 2022 China's Cultural Revolution (1966-1976) produced propaganda music that still stirs unease and, at times, evokes nostalgia. Lei X. Ouyang uses selections from revolutionary songbooks to untangle the complex interactions between memory, trauma, and generational imprinting among those who survived the period of extremes. Interviews combine with ethnographic fieldwork and surveys to explore both the Cultural Revolution's effect on those who lived through it as children and contemporary remembrance of the music created to serve the Maoist regime. As Ouyang shows, the weaponization of music served an ideological revolution but also revolutionized the senses. She examines essential questions raised by this phenomenon, including: What did the revolutionization look, sound, and feel like? What does it take for individuals and groups to engage with such music? And what is the impact of such an experience over time? Perceptive and provocative, Music Trade Review"This book opens a new window to events during the Mao era; it undermines our preconceived bias about the events of that phase and is full of musical pieces of the period, providing a distinct picture of the society at that time. . . . Scholars trying to understand Chinese culture and East Asian Studies should go through this book, as the multidisciplinary approach of Lei would lead them to explore something new and fresh in the field." --International Institute for Asian Studies "Music as Mao's Weapon is well-written and comes with detailed background information, photographs, music examples and song lists, which makes it attractive also to the non-China expert. It exposes strategies of revolutionary music composition and investigates its effects on the individual in the highly politicized and violent context of the Cultural Revolution. . . . Ouyang's book offers stimulating insight into why, how, and to whom this musical heritage is still meaningful today." --The China Quarterly "Highly recommended." --ChoiceTable of ContentsList of Illustrations ix Acknowledgments xiii Notes on Pinyin, Surnames, Transliteration, and Translation xvii 1 Researching the Battlefield 1 2 Music and Politics 23 Memories of the Battlefield: “It’s in Your Bones, It’s in Your Blood” 71 3 Music and Childhood 76 Memories of the Battlefield: “Learning Music to Avoid Going ‘Up to the Mountains and Down to the Countryside’” 103 4 Music and Memory 109 Memories of the Battlefield: “You Hear These Songs and You Are Inspired” 131 5 Conclusions 138 Appendix A Brief Historical Context of the Cultural Revolution 155 Appendix B Sixty-Five Children’s Songs in New Songs of the Battlefield 159 Chinese Character Glossary 163 Notes 169 Bibliography 177 Index 191

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Book SynopsisGamelan and American academic institutions have maintained their close association for more than sixty years. Elizabeth A. Clendinning illuminates what it means to devote one's life to world music ensemble education by examining the career and community surrounding the Balinese-American performer and teacher I Made Lasmawan. Weaving together stories of Indonesian and American practitioners, colleagues, and friends, Clendinning shows the impact of academic world music ensembles on the local and transnational communities devoted to education and the performing arts. While arguing for the importance of such ensembles, Clendinning also spotlights how performers and educators use them to create stable and rewarding artistic communities. Cross-cultural ensemble education emerges as a worthy goal for students and teachers alike, particularly at a time when people around the world express more enthusiasm about raising walls to keep others out rather than building bridges to invite them in.Trade Review"Clendinning has flipped the script. Rather than describing Balinese performers as if ‘they’ come to ‘us’, she shows how their far-flung pedagogical networks reshaped US-based music programs in higher education from the inside out. Her intimate portraits of three generations of Balinese teachers reveal them as the makers of transnational music communities. This book is both fascinating and moving. I am convinced all over again that these almost utopian third spaces are sorely needed."--Deborah Wong, University of California, Riverside"An ambitious work that can really spark scholarship that intersects ethnomusicology, performance studies, and the scholarship on teaching and learning. Clendinning discusses the positive aspects of world music ensembles, but is also open about the ethical issues involved in running a gamelan in an institution of higher education."--Eric Hung, Music of Asian America Research CenterTable of ContentsAcknowledgments 1 Interlocking Sounds, Interlocking Communities 2 Early Encounters in Bimusicality 3 From Bali to America: Teachers and Transitions 4 Creating and Conceptualizing a Balinese American Gamelan Community 5 Teaching, Learning, Representing 6 Americans Learning Gamelan in Bali 7 Kembali: To Return or Change 8 Bimusicality and Beyond 9 Sustainability and the Academic World Music Ensemble 10 Cultivating New Flowers Glossary Notes References Index

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Book SynopsisA combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jiménez and Mingo Saldívar. Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music’s reach. As Bauer shows, conjunto’s encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jiménez and other regional players? How do similar local genres like Tejano and norteño relate to ideas of categorization? A rare look at a fascinatTable of ContentsAcknowledgements Introduction: The Globalization of Conjunto Part I: The Migration of Conjunto 1. “We love you, Flaco!”: Chicken Skin Music, “Mingomania,” and the Inter/national Presentation of Conjunto 2. “Ladies and gentlemen, Dodge presents Flaco Jiménez!”: Arhoolie Records, KEDA Radio Jalapeño, and the Mediated Dispersal of Conjunto 3. “From Texas to Washington and across to Michigan and Illinois…”: Los Cuatro Vientos, Los Texmaniacs, Los Lobos, and the U.S American Spread of Conjunto Part II: The Hybridization of Conjunto 4. “You have to mix it up!”: “Seguro Que Hell Yes,” the Texas Tornados, Los Super Seven, and the Cultural Hybridity of Flaco Jiménez 5. “I play the jazz accordion!”: “Rueda de Fuego (Ring of Fire),” “My Toot Toot,” and the Country/Zydeco Influences of Mingo Saldívar and Steve Jordan 6. “It’s jealousy…”: Eva Ybarra and the Hybrid Offerings of Women in Conjunto Part III: The Appropriation of Conjunto 7. “That’s my music!”: Kenji Katsube, Dwayne Verheyden, and the Worldwide Participation in Conjunto 8. “¡Esto es globalización!”: Rowwen Hèze, the Rolling Stones, and the Commercialized Appropriation of Conjunto Conclusion Notes Discography Works Cited Index

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Book SynopsisExplores urban music and youth culture in AfricaTrade ReviewHip Hop Africa is recommended for scholars and students with an interest in contemporary African popular culture and urbanism. Given the breadth of its content, it will be a particularly useful resource for graduate and undergraduate courses on global hip hop, African popular music, and urban African culture. * Research in African Literatures *Hip Hop Africa is a welcome addition to the literature on popular culture and music in Africa. * Journal of African Cultural Studies *[R]eaders interested in contemporary African culture, hip-hop, world music, globalization, and youth cultural identities in the twenty-first century should find Charry's Hip Hop Africa to be a useful addition to their libraries. * Black Camera *Readers with interests in African hip hop and urban youth cultures will find this book indispensable. * African Studies Review *[Eric Charry] has assembled remarkable essays by experts who offer deep historical and cultural connections showing how Africans shape rap to fit their local circumstances. * Africa Today *Impressively details hip hop's evolution throughout Africa . . . [and] presents important arguments in African hip hop scholarship, including discussions on African hip hop's linkages with US hip hop, and debates over authenticity and imitation. . . . . The authors in the volume provide extensive background information on hip hop's evolution throughout Africa . . . much of the volume's strength lies in its examination of local hip hop scenes . . . a good look urban music in Africa . . . a solid contribution to scholarship on African hip hop.2013 * African Studies Quarterly *Table of ContentsPrefaceAfrican Rap: A Capsule History Eric CharryPart I. Rap Stories (Ghana and South Africa)1. The Birth of Ghanaian Hiplife: Urban Style, Black Thought, Proverbial Speech Jesse Weaver Shipley2. A Genre Coming of Age: Transformation in the Rap Music and Hip Hop Culture of South Africa Lee WatkinsPart II. Griots and Messengers (Senegal, Côte d'Ivoire, and Malawi)3. The Rapper as Modern Griot: Reclaiming Ancient Traditions Patricia Tang4. Promises of the Chameleon: Reggae Artist Tiken Jah Fakoly's Intertextual Contestation of Power in Côte d'Ivoire Daniel Reed5. Style, Message, and Meaning in Malawian Youth Rap and Ragga Performance John FennPart III. Identity and Hybridity (Mali and Nigeria)6. Mapping Cosmopolitan Identities: Rap Music and Male Youth Culture in Mali Dorothea E. Schulz7. Nigerian Hip Hop: Exploring a Black World Hybrid Stephanie ShonekanPart IV. East Coast (Kenya and Tanzania)8. The Local and Global in Kenyan Rap and Hip Hop Culture Jean Ngoya Kidula9. Infinite Flavors: Imitation and Innovation in the Music, Dress, and Camps of Tanzanian Youth Alex PerulloPart V. Popular Music Panoramas (Ghana and Malawi)10. Contemporary Ghanaian Popular Music Since the 1980s John Collins11. Popular Music and Young Male Audiences in Contemporary Malawi Jochen SeebodePart VI. Drumming (Mali)12. Urban Drumming: Traditional Celebration Music in a West African City (Bamako) Rainer PolakMusic for an African 21st-Century Eric CharryBibliographyDiscographyVideographyWebographyList of ContributorsIndex

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Book SynopsisMusic in Arabiaextends and challenges existing narratives of the region's distinctive but understudied music to reveal diverse and dynamic music cultures rooted in centuries-old heritage. Contributors to Music in Arabia bring a critical eye and ear to the contemporary soundscape, musical life, and expressive culture in the Gulf region. Including work by leading scholars and local authorities, this collection presents fresh perspectives and new research addressing why musical expression is fundamental to the area's diverse, transnational communities. The volume also examines music circulation as a commodity, such as with the production of early recordings, the transnational music industry, the context of the Arab Spring, and the region's popular music markets. As a bonus, readers can access a linked website containing audiovisual examples of the music, dance, and expressive culture introduced throughout the book. With the work of resident scholars and heritage practitioners in conversTrade ReviewMusic in Arabia is a well put together book, offering an intergenerational, multivocal arrangement of short essays that put up many signposts for future research. . . . This anthology breaks new ground in content and form, and the music traditions discussed coexist and co-resist reformatting or the compression needed to fit neatly together. It is an important contribution. -- Amy Horowitz * Journal of Folklore Research *Music in Arabia is a welcome addition to the growing corpus of studies of culture and heritage in the Arabian Peninsula and Gulf region. . . . In conjunction with emerging scholarship on culture in and around the Arabian Peninsula and Gulf, this valuable work should also open up new avenues of critical scholarship on the Indian Ocean region—a zone of circulation and contact par excellence—akin to recent advances in Mediterranean studies. -- Jonathan H. Shannon * Journal of Anthropological Research *Table of ContentsPrefaceNote on TransliterationNote on Accompanying Website1. Introduction, by Virginia Danielson2. Aspects of the Musical Traditions in the Arabian Peninsula: Distinctive Features, Institutional Preservation, Patrimonial Negotiation, by Scheherazade Hassan3. The Oil Economy and the Perpetuation of Musical Heritage in Abu Dhabi, by Virginia Danielson4. (Re)Patriating the Business of Music in Oman: Examples of the Tangible and Intangible in an Omani Arts Economy, by Anne K. Rasmussen5. Kuwaiti Pearl Diving Music and The Mayouf Mejally Folkloric Ensemble: Beyond an Authorized Heritage Discourse, by Ghazi Al Mulaifi6. Which Lute was Played in the Sawt of the Gulf before the 20th Century?, by Jean Lambert7. The Recordings of 'AbdullaIf al-Kuwaiti: 1927-1947, by Ahmad AlSalhi8. Līwa: A Tale of Adaptation, Survival, and Sustainability, by Aisha Bilkhair9. The Art of the Tambūra in Qatar: African Identity Reimagined, by Issa Boulos and Yassine Ayari10. Beyond Aesthetics: Political Diplomacy and Cultural Policy in the Musics of the Sultanate of Oman, by Majid H. al-Harthy11. Songstresses of Saudi Arabia, by Kay Hardy Campbell12. Wedding Music: An Ethnography of Male Songs and Dances at Traditional Weddings in the United Arab Emirates, by Khalid Albudoor and Issa Boulos13. Gender and Genres of Arab Music in the Collection of Christiaan Snouck Hurgronje (1857–1936), by Anne van Oostrum14. The Oman Center for Traditional Music: 1983-2016, by Musallam al-Kathiri and Majid H. al-Harthy15. Baloch Cultural Circuits in the Context of the Musical Ethnography of the Gulf Region, by George Mürer16. Reimagining Protest, Reform, and the Public Sphere in Bahraini Hip-Hop and Heavy Metal, by David A. McDonald17. Afterword, by Ruth M. StoneGlossaryIndex

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Book SynopsisTrade ReviewMusic in Arabia is a well put together book, offering an intergenerational, multivocal arrangement of short essays that put up many signposts for future research. . . . This anthology breaks new ground in content and form, and the music traditions discussed coexist and co-resist reformatting or the compression needed to fit neatly together. It is an important contribution. -- Amy Horowitz * Journal of Folklore Research *Music in Arabia is a welcome addition to the growing corpus of studies of culture and heritage in the Arabian Peninsula and Gulf region. . . . In conjunction with emerging scholarship on culture in and around the Arabian Peninsula and Gulf, this valuable work should also open up new avenues of critical scholarship on the Indian Ocean region—a zone of circulation and contact par excellence—akin to recent advances in Mediterranean studies. -- Jonathan H. Shannon * Journal of Anthropological Research *Table of ContentsPrefaceNote on TransliterationNote on Accompanying Website1. Introduction, by Virginia Danielson2. Aspects of the Musical Traditions in the Arabian Peninsula: Distinctive Features, Institutional Preservation, Patrimonial Negotiation, by Scheherazade Hassan3. The Oil Economy and the Perpetuation of Musical Heritage in Abu Dhabi, by Virginia Danielson4. (Re)Patriating the Business of Music in Oman: Examples of the Tangible and Intangible in an Omani Arts Economy, by Anne K. Rasmussen5. Kuwaiti Pearl Diving Music and The Mayouf Mejally Folkloric Ensemble: Beyond an Authorized Heritage Discourse, by Ghazi Al Mulaifi6. Which Lute was Played in the Sawt of the Gulf before the 20th Century?, by Jean Lambert7. The Recordings of 'AbdullaIf al-Kuwaiti: 1927-1947, by Ahmad AlSalhi8. Līwa: A Tale of Adaptation, Survival, and Sustainability, by Aisha Bilkhair9. The Art of the Tambūra in Qatar: African Identity Reimagined, by Issa Boulos and Yassine Ayari10. Beyond Aesthetics: Political Diplomacy and Cultural Policy in the Musics of the Sultanate of Oman, by Majid H. al-Harthy11. Songstresses of Saudi Arabia, by Kay Hardy Campbell12. Wedding Music: An Ethnography of Male Songs and Dances at Traditional Weddings in the United Arab Emirates, by Khalid Albudoor and Issa Boulos13. Gender and Genres of Arab Music in the Collection of Christiaan Snouck Hurgronje (1857–1936), by Anne van Oostrum14. The Oman Center for Traditional Music: 1983-2016, by Musallam al-Kathiri and Majid H. al-Harthy15. Baloch Cultural Circuits in the Context of the Musical Ethnography of the Gulf Region, by George Mürer16. Reimagining Protest, Reform, and the Public Sphere in Bahraini Hip-Hop and Heavy Metal, by David A. McDonald17. Afterword, by Ruth M. StoneGlossaryIndex

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Book SynopsisTrade Review"Moving beyond applied ethnomusicology into what the author describes as 'critical activist ethnomusicology' the study describes and critiques the diverse ways that different players in the refugee camps engage music and related arts to display layers of power dynamics."—Jean Kidula, author of Music in Kenyan Christianity: Logooli Religious Song

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Book SynopsisTrade Review"Moving beyond applied ethnomusicology into what the author describes as 'critical activist ethnomusicology' the study describes and critiques the diverse ways that different players in the refugee camps engage music and related arts to display layers of power dynamics."—Jean Kidula, author of Music in Kenyan Christianity: Logooli Religious Song

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Book SynopsisIntroduces art song literature and composers from Latin AmericaTrade ReviewMezzo-soprano Hoover (Univ. of Hawai'i at Mānoa; board member, Latin American Art Song Alliance), along with six supporting contributors (including the founder of LAASA), has constructed this guide to 20th-century Latin American art songs. Designed for singers and voice teachers wishing to investigate this literature, the main body of the work is 22 chapters, one for each of the 22 Latin American countries surveyed. Each chapter has a 'brief introduction to the region... followed by an annotated catalog of compositions organized alphabetically by composer.' Over half of these pages are taken up by the chapters on Argentina and Brazil. Several countries have just over a page of introduction and a handful of songs; a few have just one song. The volume includes a preface, introduction, bibliography, indexes, appendixes, and notes. The 'List of Publishers' might prove useful in locating the songs. Hoover states that this is a 'representative' rather than a 'definitive' book--a starting point for investigating the literature. No similar work exists, and most general Latin American music guides are years, even decades old. Summing Up: Recommended. Practitioners and collections serving vocal music programs; lower-level undergraduates and above. --Choice J. L. Patterson, University of Wisconsin--Eau Claire, December 2010"Hoover, along with six supporting contributors (including the founder of LAASA), has constructed this guide to 20th-century Latin American art songs.... No similar work exists, and most general Latin American music guides are years, even decades old.... Recommended." —Choice"[Hoover] has made an important contribution to the study and performance of Latin American art song—and indeed, to art song in general—with this publication. Singers who are interested in exploring new repertoire should investigate this book, and teachers who are looking for new song literature will find the volume useful as well." —Journal of Singing, Vol. 67 No. 2, 2010"This reference work is a tremendous resource for anyone interested in the Latin American art song repertoire. The fact that it lists so many composers and compositions, how to obtain them, along with voice ranges and types, truly makes this book practical and necessary for research discovery and planning in the academic music disciplines." —Reference Reviews, Vol. 25, No. 1, 2011"Maya Hoover’s guide to the Latin American art song repertoire will be a welcome addition to any music library reference collection or to the voice teacher’s bookshelf. The only resource of its kind, the volume introduces the reader to a wealth of contemporary classical vocal repertoire from twenty-two Latin American countries." —Music Reference Services QuarterlyTable of ContentsPrefaceAcknowledgmentsIntroduction1. Argentina / Allison Weiss2. Bolivia3. Brazil / Stela M. Brandão4. Chile5. Colombia / Ellie Anne Duque6. Costa Rica7. Cuba8. Dominican Republic9. Ecuador10. El Salvador11. Guatemala12. Haiti / Jean-Ronald LaFond13. Honduras14. Jamaica15. Mexico16. Nicaragua17. Panama18. Paraguay19. Peru / José-Luis Maúrtua20. Puerto Rico21. Uruguay22. Venezuela / Kathleen L. WilsonAppendix A: List of Countries and Regions in Latin AmericaAppendix B: Statistics by Geographic RegionAppendix C: List of PublishersAppendix D: List of Suggested RepertoireNotesBibliographyList of ContributorsIndex

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Book SynopsisWith its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music's travels - with or without its makers - including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity.

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Book SynopsisTrade Review"Nahid Siamdoust's beautiful writing paints a vivid portrait of the struggles over popular music in the Islamic Republic and brings to life some of the most unique and colorful characters in Iranian society today. An instant classic that will launch conversations on Iran and contemporary popular music globally." -- Mark LeVine * author of Heavy Metal Islam *"Nahid Siamdoust's Soundtrack of the Revolution is a groundbreaking study of a potent cultural register in post-revolutionary Iran. For both the casual reader and the aficionado, Siamdoust's pioneering insights are revelatory." -- Hamid Dabashi * author of Iran: A People Interrupted *"Music is the language of liberation. Nahid Siamdoust, who knows all the players and has taken personal risks to tell this story, has written a lovely tribute to the courage and creativity of Iran's musicians. This is a book that, like Iran itself, is filled with hope and sadness—and the universal human desire for freedom." -- Joe Klein * Time Magazine *"Siamdoust manages to capture valuable qualities about the practice of popular music in Iran in depth, while also covering a broad period. This is a premium resource for students and researchers at the intersection of popular music and politics. Overall, it is an eye-opening and enjoyable work." -- Amin Hashemi * Middle East Journal of Culture and Communication *Table of ContentsContents and Abstracts1The Politics of Music chapter abstractThis chapter provides the historical and political context for an understanding of the issue of music in post-revolutionary Iran. It narrates the process of the Islamization of Iranian politics after the revolution and the problematic of music within Islamic tradition, and posits music as an alternative public sphere. It also provides short overviews of the history of Persian music, music education in Iran, as well as government regulations on music and female musicians, in particular. 2The Nightingale Rebels chapter abstractChapter Two offers insight into the status of music in the immediate years before the revolution and goes on to highlight the trajectory of Iran's preeminent vocalist of Persian classical music, Mohammad Reza Shajarian. It delves into discussions about Persian art music versus popular music, pop music in Shah-era Iran, evolving forms of poetic protest in twentieth-century Iran, and the important role of radio both for Persian classical music as well as for the making of Shajarian. 3The Musical Guide: Mohammad Reza Shajarian chapter abstractThis chapter follows Mohammad Reza Shajarian's trajectory from a "revolutionary" singer and one of the most prominent voices of the Chavosh group—at the onset of the 1979 revolution—to a vocalist whose "popular" politics are increasingly at odds with those of the new state. It provides the necessary background for an understanding of evolutions in state policy and media technology before returning to a closer look at Shajarian's carefully charted repertoire of resistance. As he breaks into open opposition to state policy following the 2009 Green Uprising, he is increasingly portrayed as a lowly entertainer and traitor by hardline state media. 4Revolution and Ruptures chapter abstractChapter Four examines the approach of the new state and its leader Ayatollah Ruhollah Khomeini to music, and to cultural policymaking more generally. Initially Khomeini had pronounced music forbidden, but what did he mean by "music," and how did "music" come to be permitted eventually? What Islamic traditions have Islamic Republic officials abided by for their understanding of music's permissibility? This chapter also examines the musical fare on state media during the revolution's first decade, and provides an in-depth look at the official structures that regulate music in the Islamic Republic. 5Opening the Floodgates to Pop Music: Alireza Assar chapter abstractThis chapter tells the as yet untold story of the creation of state-approved pop music in Islamic Iran, as shared by the officials and musicians at the center of its making. Pop music, once banned because the new state perceived it as representing the cultural promiscuity of Shah-era Iran, was greenlighted and broadcast from within conservative state media toward the end of the 1990s, following President Akbar Hashemi Rafsanjani's reconstruction period. This chapter presents the musicians that spearheaded this process. It highlights the work of one of the most popular stars among post-revolutionary Iran's first generation of pop singers, Alireza Assar, and argues that his projection of an alternative religiosity in contradistinction to the state's dogmatic Islam attracted Iran's post-1980–88 war youth. 6The Rebirth of Independent Music chapter abstractChapter Six examines the rebirth of independent music in post-revolutionary Iran, which flourished during the terms of reformist President Mohammad Khatami and his government's more liberal music policy. The chapter narrates the beginnings of rock and fusion music starting in the late 1980s and onward to Iran's "first" semi-public underground rock concert, as well as the importance of the webzine Tehranavenue in bringing to light Iran's active underground music scene. The chapter follows the trajectory of the musician Mohsen Namjoo in delineating these processes. 7Purposefully Fālsh: Mohsen Namjoo chapter abstractThis chapter is a study of the coming of age of the alternative musician Mohsen Namjoo, and his struggles to emerge as a musician under politically repressive circumstances. It narrates his cultivation of a discourse of absurdist nihilism, which finds great resonance with a community of post-ideological cynics, as well as his rhetorical and musical iconoclasm. It traces his arc from a student struggling to make it as a musician in Iran to his emigration and self-stated decision to break his "self-censorship" following the 2009 unrest. 8Going Underground chapter abstractChapter Eight proceeds in the book's chronological treatment of music in post-revolutionary Iran to discuss the changes in cultural policy from the more liberal government of Mohammad Khatami to that of Mahmoud Ahmadinejad. This transition coincided with a period of great technological transformation around 2005, when the impact of new media was changing the face of music production, distribution, and consumption in Iran. It then goes on to describe discussions of the category of underground music, how it is defined and categorized internally, and the government's reckoning with this new reality. 9Rap-e Farsi: Hichkas chapter abstractThis chapter delves deeper into the underground music scene by foregrounding one of its best-known performers, Soroush Lashkary, aka Hichkas. It discusses categorizations of Rap-e Farsi and the coming of age of Hichkas, the "Godfather of Rap-e Farsi," from a middle-class kid in Tehran to a household name. The chapter also analyzes the generational differences between Namjoo and Hichkas, and how these differences are reflected in their music. It further explores the music of Hichkas, which draws on an old Iranian honor ethic to find traction with its listeners. 10The Music of Politics chapter abstractChapter Ten narrates developments in music during the 2009 Green Uprising, and draws comparisons to musical trajectories at the time of the 1979 revolution, as discussed in Chapters One and Two. It also discusses the election of President Hassan Rouhani as a continuation of the political sentiments of the Green Movement, and proceeds to narrate more recent musical developments. The chapter then offers some conclusions on the bigger questions in the book about expressions of joy, freedom, and political repression.

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Book SynopsisBotkin has compiled and analyzed plays, novels, and folklore about Three-Fingered Jack in order to show how the story of this hero-villain has evolved as it traveled from the Caribbean to England and the United States, returning to Jamaica as a tale of heroic resistance.Trade Review"Finally, the study of Obi for which we’ve been waiting: one that moves across not just historical periods but also language, culture, and media. In Thieving Three-Fingered Jack, Frances Botkin gives us an extraordinary study for understanding transatlantic literary relations. Few figures possess the necessary power to illuminate a region or an era, but Jack Mansong — especially in Professor Botkin’s hands — proves such a vehicle." -- Michael Gamer * associate professor of English, University of Pennsylvania *"With its seamless blending of disciplinary methods, Thieving Three-Fingered Jack explains how a fugitive slave became a transatlantic legend. Botkin moves transhistorically and transnationally to describe how Jack became a fictional and theatrical icon. In the process, she highlights the many insights made possible when folklore and literary studies converge." -- Daphne Lamothe * author of Inventing the New Negro: Narrative, Culture, and Ethnography *"[Thieving Three-Fingered Jack: Transatlantic Tales of a Jamaican Outlaw] discusses plays and songs written about Jack Mansong, an escaped slave turned bandit who came to be revered as a freedom fighter in Jamaica for his attacks on colonial planters." * Chronicle *Forthcoming African American Studies Titles, 2018: A list of the latest and soon-to-be-released publications through October 2018. * Choice *Table of ContentsIntroduction: Representing Three-Fingered Jack 1. Divide and Conquer: Three-Fingered Jack and the Maroons 2. "Jack Is a MAN" Prose Obis, 1800-1870 3. Staging Obi: Three-Fingered Jack in London and New York 4. Being Jack Mansong: Ira Aldridge and Three-Fingered Jack 5. After Emancipatio: Masquerade and Miscegenation 6. Mansong: No Longer "Nearly Everybody Wite" Epilogue: "The Baddest Man Around" Acknowledgments Notes Works Cited Index

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Book SynopsisBotkin has compiled and analyzed plays, novels, and folklore about Three-Fingered Jack in order to show how the story of this hero-villain has evolved as it traveled from the Caribbean to England and the United States, returning to Jamaica as a tale of heroic resistance.Trade Review"Finally, the study of Obi for which we’ve been waiting: one that moves across not just historical periods but also language, culture, and media. In Thieving Three-Fingered Jack, Frances Botkin gives us an extraordinary study for understanding transatlantic literary relations. Few figures possess the necessary power to illuminate a region or an era, but Jack Mansong — especially in Professor Botkin’s hands — proves such a vehicle." -- Michael Gamer * associate professor of English, University of Pennsylvania *"With its seamless blending of disciplinary methods, Thieving Three-Fingered Jack explains how a fugitive slave became a transatlantic legend. Botkin moves transhistorically and transnationally to describe how Jack became a fictional and theatrical icon. In the process, she highlights the many insights made possible when folklore and literary studies converge." -- Daphne Lamothe * author of Inventing the New Negro: Narrative, Culture, and Ethnography *"[Thieving Three-Fingered Jack: Transatlantic Tales of a Jamaican Outlaw] discusses plays and songs written about Jack Mansong, an escaped slave turned bandit who came to be revered as a freedom fighter in Jamaica for his attacks on colonial planters." * Chronicle *Forthcoming African American Studies Titles, 2018: A list of the latest and soon-to-be-released publications through October 2018. * Choice *Table of ContentsIntroduction: Representing Three-Fingered Jack 1. Divide and Conquer: Three-Fingered Jack and the Maroons 2. "Jack Is a MAN" Prose Obis, 1800-1870 3. Staging Obi: Three-Fingered Jack in London and New York 4. Being Jack Mansong: Ira Aldridge and Three-Fingered Jack 5. After Emancipatio: Masquerade and Miscegenation 6. Mansong: No Longer "Nearly Everybody Wite" Epilogue: "The Baddest Man Around" Acknowledgments Notes Works Cited Index

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Book SynopsisMusic and Social Change in South Africa looks at contemporary maskanda-a folk musical genre distinguished by fast guitar picking and blues-style vocal intonation-against the backdrop of South Africa's history. A performance practice that emerged in the early decades of the twentieth century among Zulu migrant workers, maskanda is strongly associated with young Zulu men's experiences of repression and dislocation during imperial and, more particularly, apartheid rule. Working closely with translated song lyrics and musical notation-and applying musical and socio-political analysis to this music and its cultural context-Olsen argues that maskanda offers insight into how the post-apartheid ideal of social transformation is experienced by those who were marginalized for most of the twentieth century. Drawing on a decade of research, Olsen strives to demystify the Zulu part of contemporary experience in South Africa and to reveal some of the complexities of the social, economic, and poTable of Contents Contents Acknowledgments Prologue 1 | Maskanda Researched: The Parallax View 2 | Maskanda’s Early Years 3 | Maskanda as Commodified Tradition 4 | Men Making Maskanda in Post-apartheid South Africa 5 | Women Playing Maskanda 6 | Experiencing Transformation Notes References Index

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Book SynopsisInside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early songcatchers were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the other' that made them.In Modernity's Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, KheshtTrade ReviewEngaging an impressive range of methodologies,Modernitys Earoffers an astute look into the world music culture industry through the lens of ethnographic entrapment and phonographic subjectivity. With sharp insight, Kheshti explores the nexus between bodies and sounds at the intersection of racial and gender identities to make a crucial point about phonographic listening as an important venue for performative and philosophical reflection. -- Alexander Weheliye,author of Phonographies: Grooves in Sonic Afro-ModernityRich in ethnographic fieldwork,Modernitys Earis a thunderous unsettling of the gendered and racialized assumptions we make about sound and listening. Innovatively pushing the limits of queer studies and critical race studies, Kheshti stretches the listening ear and retunes theoretical approaches to consider not only the way race sounds but how it is configured as sensually & other. A field-changing book for queer studies and sound studies alike. -- Deborah R. Vargas,author of Dissonant Divas in Chicana Music: The Limits of La OndaIn this tightly structured book, Kheshti offers not only an aesthetic and stylistic history of world music but also an analysis of race and gender in the & world music culture industry. * Choice *Table of ContentsAcknowledgments ix Preface: Playing by Ear xv Introduction 1 1. The Female Sound Collector and Her Talking Machine 15 2. Listen, Inc.: Aural Modernity and Incorporation 39 3. Losing the Listening Self in the Aural Other 65 4. Racial Noise, Hybridity, and Miscegenation in World Music 82 5. The World Music Culture of Incorporation 108 Epilogue: Modernity's Radical Ear and the Sonic Infidelity of Zora Neale Hurston's Recordings 125 Notes 143 References 165 Index 173 About the Author

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Book SynopsisInside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early songcatchers were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the other' that made them.In Modernity's Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, KheshtTrade ReviewEngaging an impressive range of methodologies,Modernitys Earoffers an astute look into the world music culture industry through the lens of ethnographic entrapment and phonographic subjectivity. With sharp insight, Kheshti explores the nexus between bodies and sounds at the intersection of racial and gender identities to make a crucial point about phonographic listening as an important venue for performative and philosophical reflection. -- Alexander Weheliye,author of Phonographies: Grooves in Sonic Afro-ModernityRich in ethnographic fieldwork,Modernitys Earis a thunderous unsettling of the gendered and racialized assumptions we make about sound and listening. Innovatively pushing the limits of queer studies and critical race studies, Kheshti stretches the listening ear and retunes theoretical approaches to consider not only the way race sounds but how it is configured as sensually & other. A field-changing book for queer studies and sound studies alike. -- Deborah R. Vargas,author of Dissonant Divas in Chicana Music: The Limits of La OndaIn this tightly structured book, Kheshti offers not only an aesthetic and stylistic history of world music but also an analysis of race and gender in the & world music culture industry. * Choice *Table of ContentsAcknowledgments ix Preface: Playing by Ear xv Introduction 1 1. The Female Sound Collector and Her Talking Machine 15 2. Listen, Inc.: Aural Modernity and Incorporation 39 3. Losing the Listening Self in the Aural Other 65 4. Racial Noise, Hybridity, and Miscegenation in World Music 82 5. The World Music Culture of Incorporation 108 Epilogue: Modernity's Radical Ear and the Sonic Infidelity of Zora Neale Hurston's Recordings 125 Notes 143 References 165 Index 173 About the Author

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Book SynopsisK-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references.K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by

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